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The rest of the combination tones are octaves of 100 Hz so the 7:5 interval actually contains four notes: 100 Hz (and its octaves), 300 Hz, 500 Hz and 700 Hz. The lowest combination tone (100 Hz) is a seventeenth (two octaves and a major third) below the lower (actual sounding) note of the tritone.
A false sequence is a literal repetition of the beginning of a figure and stating the rest in sequence: [1] J.S. Bach Prelude from Cello Suite in G J.S. Bach Prelude from Cello Suite in G, BWV 1007. A modulating sequence is a sequence that leads from one tonal center to the next, with each segment technically being in a different key in some ...
Some theorists use angle brackets to denote ordered sequences, [7] while others distinguish ordered sets by separating the numbers with spaces. [8] Thus one might notate the unordered set of pitch classes 0, 1, and 2 (corresponding in this case to C, C ♯, and D) as {0,1,2}. The ordered sequence C-C ♯-D would be notated 0,1,2 or (0,1,2 ...
This is a list of set classes, by Forte number. [1] A set class (an abbreviation of pitch-class-set class) in music theory is an ascending collection of pitch classes, transposed to begin at zero. For a list of ordered collections, see: list of tone rows and series. Sets are listed with links to their complements. The prime form of ...
The intervals between the notes of a natural minor scale follow the sequence below: whole, half, whole, whole, half, whole, whole. where "whole" stands for a whole tone (a red u-shaped curve in the figure), and "half" stands for a semitone (a red angled line in the figure). The natural minor scale is maximally even.
"Mirror forms", P, R, I, and RI, of a tone row (from Arnold Schoenberg's Variations for Orchestra Op. 31, "Called mirror forms because...they are identical". [1]In music, a tone row or note row (German: Reihe or Tonreihe), also series or set, [2] is a non-repetitive ordering of a set of pitch-classes, typically of the twelve notes in musical set theory of the chromatic scale, though both ...
This breaks the aggregate into two smaller pieces, thus making it easier to sequence notes, progress between rows or aggregates, and combine notes and aggregates. The principal forms, P1 and I6, of Schoenberg's Piano Piece , op. 33a, tone row feature hexachordal combinatoriality and contains three perfect fifths each, which is the relation ...
Further octaves of a note occur at times the frequency of that note (where n is an integer), such as 2, 4, 8, 16, etc. and the reciprocal of that series. For example, 55 Hz and 440 Hz are one and two octaves away from 110 Hz because they are + 1 ⁄ 2 (or 2 − 1 {\displaystyle 2^{-1}} ) and 4 (or 2 2 {\displaystyle 2^{2}} ) times the frequency ...